This subseries consists of files that Parsons retained from her work at the Wakefield Gallery and the Mortimer Brandt Gallery. Files include correspondence, clippings, group exhibition files, announcements, catalogs, photographs, and exhibition and price lists.

Found here are files from Betty Parsons' job as director of the Wakefield Gallery, including clippings, correspondence, announcements, exhibition files, exhibition lists, schedules, invoices, receipts and a scrapbook of clippings and exhibition announcements created from a bound dummy copy of . There are no solo exhibition files, only files for the themed exhibitions, (1941), (1942), and (1944). The Pre-Columbian Stone Sculpture exhibition files are of particular note as they contain vintage photographs by Aaron Siskind of the sculptures that were produced for reproduction in the exhibition catalogue.

Found here are select files stemming from Betty Parsons work as the head of the contemporary art section of Mortimer Brandt Gallery. The files consist of clippings, correspondence, announcements, catalogs, exhibition files, and exhibition lists. As with the files from Wakefield Gallery above, these files do not constitute a complete record of Parsons' work with the Mortimer-Brandt Gallery. Exhibition files exist solely for the two exhibitions; (1944) and (1945). There is also correspondence between Parsons and Mortimer Brandt, some of which concerns lease arrangements for Parsons subletting half of the fifth floor of 15 East 57th Street to open her own gallery. There is also correspondence between Parsons and Sidney Janis, who sublet the rest of the floor for his gallery beginning in 1953.

Found here are scattered personal papers, such as Parsons' artist biography, family trees for the Pierson and Miles families, association membership cards, interview transcripts, travel itineraries, photographs, and mailing list of invitees for Parsons' Memorial. The folder containing miscellaneous personal papers includes ephemera, handwritten notes, an American Red Cross employment application, a small watercolor landscape by Lynn Yarnell, and several unsigned sketches.

Photographs in this subseries include snapshots and professional portraits, the bulk of which span the mid-1960s to early 1980s. Most of the photographs feature Parsons, but there are photographs of others that are not identified as well as beach views, perhaps taken near her Southold, Long Island Studio. Additionally there is a folder of photographs of works of art, primarily paintings, depicting Betty Parsons.

The bulk of the files in this series chronicle Betty Parsons' activities related to the art world. As a renowned art dealer and respected artist, Parsons' was a frequently requested speaker, juror for juried art exhibitions, and awards honoree. Her participation at these events is recorded through correspondence, invitations, programs, and award certificates. Noteworthy files include "The Creative in Art" seminar at Sarah Lawrence College, which includes syllabus and extensive notes for ten lectures. There is also a group of folders that document her social and volunteer activities.

Series consists of Parsons' incoming and outgoing correspondence originally maintained within her personal papers, although it appears to be a mixture of personal and professional correspondence. It includes not only letters from friends and family, but also from museum directors, art dealers, researchers, gallery artists, and artists seeking representation from the Betty Parsons Gallery.

Files mostly consist of correspondence with friends and artists with whom Parsons had a personal relationship, although letters touching upon gallery business are scattered throughout. As close friends, many of the artists shared details about their personal and family life, travels, work, and careers. Gallery artist correspondents include Larry Bigelow, Alexander Calder, and William Condon. Of particular note are letters from Ad Reinhardt discussing his work in relation to the gallery and exhorting Parsons to fight for her (and his) rightful place in history. Another significant and prolific correspondent is the English artist Adge Baker, with whom Parsons had a romantic relationship. The two lived together for several years in the house that Parson purchased shortly after she arrived in Paris in 1923. Although they separated in 1932, they remained life long friends.

Notable friends and other correspondents include heiress and world-class speed boat racer Joe Carstairs, the Marchioness of Dufferin and Ava (Lindy Guinness), art critic Rosalind Constable, and art and literary critic Dale McConathy, who briefly worked for Parsons as a gallery assistant. Personal correspondence also includes Christmas cards, postcards, telegrams, and third party correspondence to gallery employees and Lee Hall, Parsons' biographer and gallery artist. Letter files are arranged alphabetically, postcards are arranged by decade, but Christmas cards are not in any order since it was difficult to determine dates or the full names of the correspondents.

These files reflect how deeply Parsons' life was intertwined with the gallery as correspondence with dealers, museum directors, researchers, collectors, arts organizations, gallery staff, and artists predominate in this subseries, although letters from friends are scattered throughout. Letters address a variety of topics including requests for Parsons to be a jurist for juried exhibitions, exhibitions and sales of her own art work, references for artists, requests for interviews, questions from researchers, and communications from gallery staff. Letters from Jock Truman, include his original cover letter (1961) and updates concerning gallery business (1964, 1966-1968, and 1972).

Letters from Parsons include a letter of introduction for her former husband Schuyler Parsons to Peggy Guggenheim (1965) and a suggestion to collector Paul Mellon (1976)that Barnett Newman's Stations of the Cross belongs in the National Gallery of Art, Washington, D.C.. Parsons response to a researcher (1979) provides her insights concerning the early history of the gallery and her connection with the Abstract Expressionists. Other significant correspondents include Ossip Zadkine (1956), Jacqueline Monnier (1978 and 1982), and Judith Rothschild (1980). Finally, letters that post-date Parsons death in July, 1982 include condolence letters to gallery staff and correspondence between Jack Tilton, her former assistant at the gallery and William Rayner, her nephew and the executer of her estate, to establish prices for her art work.

Files are arranged chronologically by year, followed by a file of undated letters

Files primarily consist of small Smythson leather pocket diaries in which Parsons noted lunch and dinner engagements, openings, and other appointments, thereby providing a sense of her daily activities. As with Parsons' life, personal and gallery life are intertwined in the pages. Frequently the endpapers were used to note names, address and phone numbers. Although these diaries span from 1933-1980, they are not complete; there are only a few from the 1940s and none from the 1950s. Address books and desk calendars are also found.

Three notebooks from the 1960s appear to relate to gallery business as they contain references, to artists, works of art, and museums. The 1980-1982 notebook contains handwritten drafts of correspondence; most of the notebook pages are left blank.

This subseries includes three sketchbooks, two of which are annotated. According to biographical accounts, Betty Parsons was an avid sketcher, having acquired the habit dating from her studies with the English artist Arthur Lindsay in the 1930s. Despite this fact, this collection contains only three sketchbooks. The 1951 sketchbook consists primarily of ink figure drawings, but also includes notes for her WNYC Radio Arts Festival Interview, a transcript of which can be found with the biographical materials. The 1967 sketchbook includes diary entries amongst the abstract and figurative drawings. Finally, the 1969 sketchbook is labeled "Turkey" and includes felt tip marker landscape and abstract drawings.

Found here are articles, poems, essays, and unpublished manuscripts mostly about Parsons and the Betty Parsons Gallery, including a typescript for an unpublished monograph, "An American Gallery," written by art critic Lawrence Alloway. Related correspondence can be found in the Alloway folders in the Betty Parsons Papers Correspondence files. Also included is a proposal for a documentary film about Betty Parsons titled "Keeper of the Treasure"; it does not appear that this project was realized. Other writings are related to art, dance, and poetry, including a notebook of poems by Parsons Gallery artist, Dorothy Sturm.

Files are arranged by alphabetically by author, followed by one file of miscellaneous essays and poems.

Printed Material includes catalogs and announcements for exhibitions at Betty Parsons Gallery and other galleries, offsets of articles, magazines, clippings from newspapers and magazines.

Announcements and catalogs files include printed material from the Wakefield Gallery, Mortimer Brandt Gallery, Betty Parsons Gallery, as well as other galleries. Much of this material is duplicated in other series including Artists Files and Other Gallery Records.

The bulk of magazine and newspaper clippings feature Betty Parsons in her role as artist, art dealer, or collector. The file of the 1967 House and Garden feature on her Long Island Studio includes photographs, some of which appear to have been used in the article. This subseries also includes clippings on artists, particularly those whom Parsons represented, general art and architecture files, and a file of miscellaneous clippings and cartoons.

These files chronicle Betty Parsons' artistic career through announcements, catalogs, correspondence, inventories, price lists, sales invoices, loan forms and photographs. The majority of photographs are reproductions of works of art, although installation shots are scattered throughout.

This subseries documents Betty Parsons' personal art collection through inventories, correspondence, clippings, photographs, loan agreements, sales and purchase invoices, and photographs of artwork.

Institutions and museums often requested loans from Parsons' personal collection for exhibitions. Exhibition files consist of announcements, catalogs, correspondence, and clippings. Additionally Parsons' gave works of art from her collection to institutions and museums and these gifts are recorded in the "Gifts of work" files. Some of the documents in this subseries document appraisals of the collection following Parsons' death in 1982

Records in this extensive subseries provide insights into Parsons' personal financial affair documenting her investments, banking accounts, family estates (including her own will and testament) and real estate holdings. Since her work as an art dealer was her primary source of income, financial information relevant to the Betty Parsons Gallery can be found within her personal tax records.